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Full Description
This book functions as an introductory guide to experimental filmmaking and the motion picture camera. This new and updated second edition surveys the latest practical methods of experimental film production, as well as the history, theory, and aesthetics of experimental approaches.
Author Joel Schlemowitz explains the basic mechanism of the camera before going on to discuss slow and fast motion filming, single-frame time-lapse, the long take, camera movement, workings of the lens, and the use of in-camera effects such as double exposure. A comprehensive guide to using the 16mm Bolex camera is provided, and taking exposure readings with the Sekonic light meter is also covered in this edition. Strategies for making films edited in-camera are covered, as well as a range of equipment beyond the basic non-sync camera, with comparison of the features and capabilities of a variety of 16mm film cameras. The movie diary and film portrait are examined, along with the work of a range of experimental filmmakers including Stan Brakhage, Rudy Burckhardt, Paul Clipson, Christopher Harris, Peter Hutton, Takahiko Iimura, Marie Losier, Rose Lowder, Jonas Mekas, Marie Menken, Margaret Rorison, Guy Sherwin, and Tomonari Nishikawa.
This is the ideal book for students interested in experimental and alternative modes of filmmaking. It provides invaluable insight into the history, methods, and concepts inherent to experimental uses of the camera, while providing students with a solid foundation of techniques and practices to foster their development as filmmakers.
Supplemental material - including links to films cited in the book - can be found at www.experimentalfilmmaking.com.
Contents
Introduction 1. Dream-vision of the pulldown claw and the hidden workings of the camera 2. The machine of light and time 3. Camera eye: From cine-flâneurs to experimental optics 4. Cine-magic: The trick film and beyond 5. Tool of the experimenter: The Bolex H16 6. The camera-roll film: The film with no editing 7. Custom camera commandos, and the quandaries of obsolescence 8. Camera as diary, the film portrait, and the remembrance of filmed past
